To be honest, the first few minutes of this record, I really wasn't feeling it. That seems to be the case for a lot of Miles' records, weirdly. But like most of them, I got around to it eventually. About 7 minutes into the first piece, the long opener (not writing that full title lol), I really got into what Miles was trying to achieve here. The rhythms, the percussion, the marathon jams, all of it clicked eventually. I don't really feel like this new direction he was taking before going on an ... read more

(A lot of people do perfect score purges, where they downrate albums they gave a 100/100 to, but what I'm doing right now is the reverse of that, imma be more charitable and give albums 100/100 that I originally didn't believe to be perfect.)

Yeah, I've come to realize In A Silent Way is a masterpiece. As much as I've always been fawning over the atmosphere and mood of this album, I've always kind of held it in the regard of something akin to a "Bitches Brew Light Edition", but it ... read more

On my Miles Davis binge, I mostly went chronologically (or at least from era to era), but now after checking out Live Evil, I decided to go back because I forgot this score existed. I haven't seen the film so I can't tell you how it works in context, but the score on its own is just really fantastic. Yeah, it's short, but it's sweet, you know? The music on this album may not have the complexity of a Kind of Blue underneath it, but from an emotional standpoint, the music on here really connected ... read more

This album feels like Bitches Brew but on steroids. Oh, wait, no, Bitches Brew is Bitches Brew on Steroids. This one is as well though. A lot of the tracks on here move at a breakneck pace, go into an immensely avant-garde direction but still feel incredibly enjoyable. There were just so many moments where I went: "God damn". Some of the stuff on here is absolutely insane and unbelievable, and it's not just some parts of the music on this album, no, every single instrument on here is ... read more

A Tribute to Jack Johnson starts off with Right Off, featuring an explosive Jazz-Rock intro that barely even feels like it's Miles Davis anymore! It's more Rock than it is Jazz, to be honest. And... don't get me wrong, I love the beginning of this track, but it felt off-putting at first. Like, this is really what Miles is gonna do now? It sounded fantastic, but it just lacked a certain sense of flair. Once the trumpet kicked in, I got a bit more into and used to it, and it was pretty much ... read more

Miles just gets better and better, doesn't he?
Nefertiti has the same level of quality as Miles Smiles, but puts it into a much more emotional and mellow context. Sure, it doesn't have that more avant-edge to it that I loved so much about that record, but I also connected a lot more with these tracks on this album on a personal level. This album feels soft, but also weirdly frustrating. Not in a way where the listener feels frustrated, but rather that it seems like the artist behind the music ... read more

Miles Smiles is really the first time Miles truly went in the direction of creating music akin to avant-garde Jazz at the time, and he does it incredibly well. This is honestly just a miracle of a record, and most likely the best album he had made up to that point (or at least my favorite up his up to that point). I feel like my heart still wants me to say that Kind of Blue is my favorite pre-Electric Miles album, but this album is undeniably on another level for me.

Not just is this album ... read more

I know it might be seen as sacrilegious to say it by some Jazz fans, but I personally think that this album isn't too far off from Kind of Blue. They're pretty close. This is also probably my favorite Gil Evans/Miles Davis collaboration project. I'm not sure, since Miles Ahead and Sketches of Spain are both almost as great, but there is just something about Porgy and Bess that makes it stand out a bit more than the others. Maybe it's the grand orchestration from the original source material, ... read more

At first, I thought Milestones was going to be one of my least favorite Miles' releases I had heard so far.

I mean, the album starts off with a song that is so fast that it feels like a punch in the face. That isn't necessarily always a bad thing, one of my favorite Jazz musicians is Ornette Coleman and that dude's music always sounds like an assault on the ears (in a good way), but here, I just don't think it appeals to me all that much. I love when Miles goes into a more... I guess focused ... read more

Easily my favorite pre-Kind of Blue album by MIles. Miles Ahead takes some ambitious ideas and executes them flawlessly. Everything on here sounds extremely grand and exciting while still maintaining a certain smoothness about it. Although I usually like to hear Miles perform longer, more intricate pieces rather than these 2-5 minute tracks, they are undeniably captivating and they all flow into each other perfectly in a way where you could easily interpret some of these songs as one longer ... read more

A short but sweet Miles release. Easily one of his most generic-sounding records, but there is still a lot of quality material on here. It is kind of weird in contrast to 'Round About Midnight, which was released a year prior, considering that that record already had such a consistent tone and awareness of atmosphere, and this one doesn't really feel all that concise. This barely feels like an album, more like a compilation for that matter. The compiled work on here still is very well performed ... read more

I don't really know what to say about this one...
This is by far the least interesting Miles project I have heard so far... but it is also really good at what it does. This is sort of like a prelude to what mastery he would showcase in this direction with Kind of Blue, but still amazingly executed. This album may not be anything mind-blowing when it comes to Jazz, but my god is it enjoyable to listen to. The atmosphere here is really apparent and this is generally just a really good collection ... read more

Sketches of Spain is one of the few exceptions that breaks a curse that I have with Jazz records, that being the weird rule that I always think the first song of a Jazz album is the worst. I don't know if it is that way because I just need to sort of first get into it before I can really enjoy it, or if it is genuinely just a coincidence, but I mean, who cares. The opener on this album is excellent. Since I'm not really an expert in Jazz terminology, or Jazz in general, I can't really explain ... read more

In my mind, this is better than their debut. Sure, Strange Days doesn't have that aggressive, kind of proto-punk edge to it that their debut had, but it is much more consistent and cohesive. It turns the psychedelia up a notch and creates an album that is much more distinct in terms of its atmosphere. It's mysterious, weird, at times even creepy, but it also feels incredibly emotional and partially even complex. The guitar work on this album is insane, especially on tracks like You're Lost ... read more

AAAHHH, there is just something about this album. The Doors' self-titled record isn't necessarily a masterfully performed record, nor are the songs on this record masterfully written or lyrically the absolute best songs imaginable, but there is just something there. It's the energy, the atmosphere, the instrumental palette... there's just something so special going on here that I couldn't comprehend the first few times I listened to this record.

It's nocturnal, dark, raw and mysterious. It ... read more

You know, as much as I like The Freewheelin' Bob Dylan, The Times They Are a-Changin' is the first time I really feel like Dylan became the Dylan that we all know and love. Freewheelin' was a lot more low-key and somewhat... naïve in a weird sense... this record is low-key as well, but it still has his incredible political lyrical work and some amazing songwriting on it.

It also has a really nice balance of songs on it. You have some really sad songs, like The Lonesome Death of Hattie ... read more

I finally got into Coltrane, and oh boy, this was amazing.
I tried to listen to this album literally 4 or 5 times before but I just couldn't get into it. Now I tried AGAIN and it finally sucked me into its world the way that I always intended to be sucked into its world.

I love the drumming, the songwriting is fantastic and each part feels like an individual achievement while still working as just a chapter of a larger piece of work. I can't wait to listen to this more and more to fall in ... read more

I accidentally listened to the bonus-track-version TWICE while listening to this record, so I can't say what the actual experience is like, but oh boy, this bonus version felt EXTREMELY LONG. Exhaustingly long. The content on this record is really great though.

I don't think that Mingus Ah Um is as unique and sonically impressive as The Black Saint and the Sinner Lady (one of my all time favorite jazz releases), but it doesn't have to be. It surely feels a lot more repetitive and less ... read more

Joanna Newsom now has finally become the second artist or band that I have ever given more than one 100/100 on this site after Radiohead. Deservingly so.

Ys took me about a year to truly process and to give it its 100/100 rating, and Have One on Me definitely took some time too, only about three months or so though. There were reasons that made it harder to truly appreciate and some things were much easier on this project. For example; it's fucking 2 hours long, it's a three disc record, it's ... read more

Wow. A surprising comeback by Denzel Curry. I've always had a soft spot for his music, especially the dark but also explosive and experimental aura surrounding his album TA13OO made for one of the best Hip-Hop albums of last decade, but his last few projects we're just... good I guess? ZUU was filled with bangers but lacked topical focus and the same basically goes for his collaboration with Kenny Beats Unlocked. Those were the reason that I was almost hesitant to visit his new album right ... read more